Sometimes in my travels, I would see a small dragon peering out of the trees at the State Arboretum of Virginia. I surmised that a very shy dragon, who lived there, seemed interested in people. At other times when I drove by, Great Mother Dragon would be extending one of her wings over Him in a protective gesture.
After my traumatic brain injury, I felt that the dragons left me. Since that time, Great Mother Dragon had ceased to speak to me. Moreover, the glass Chinese dragon that I owned broke in two. I took this as a sign that my time with Dragonkind was at an end.
Later when I was asked to contact my Dragon Guide, I decided to follow my inner instincts. I chose special music to play for this meeting. Also, I gathered up several sparkly quartz crystals, a blue-green labradorite, and a red-orange zincite to decorate the meeting space. Then I prepared a space to welcome any dragon who may decide to come, and speak to me. Since I wanted the dragons to feel welcomed at my home, I also lit candles and made offerings of incense.
The music I chose to play for this time was “Fanfare for the Common Man” (1942) by Aaron Copeland (American, 1900-90). This musical piece prominently features trumpets, other bass instruments, and cymbals. It seemed to be the perfect piece to have for the entrance of the dragons in my prepared space. (I played this music several times on my CD player.)
The Great Mother Dragon came and kindly told me that because of my broken brain, her dragon energy would harmful to me. However, She had been waiting for me to formerly contact Her, since She reasoned that I would be well enough, at that time, to be told. She gently explained that since I could not hold her energy, She could no longer be my Guide. But Great Mother Dragon would not be leaving me; She would oversee my relationship with a young dragon.
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